Work on the piece has been slow but satisfying. Well, unsatisfyingly slow but what little has been produced lets me see a way forward. I’ve become much more tonal but am using the structural and procedural techniques that I used in Figures to organize that tonality. And I have better headphones good god the sound was awful for several years.
While hunting for different editions of the Barbarella comic, I came across a rarity from Virgin Record Stores in the UK from 1981. Around that time, the second collection of Barbarella comics, Le Coleres du Manges-Minutes, was released in various editions internationally and Virgin Records printed a four-issue series in English under the title The New Adventures of Barbarella (this title was also used in the German Heyne editions a decade earlier with Die Neuen Abenteuer der Barbarella). Those Virgin Records publications had become my white whale in both their rarity and cost. Rarity being the biggest barrier because for a while I could only find visual records of their existence and none for sale. Eventually, I pieced together numbers 2, 3, and 4 for a decent and not embarrassing price. The cost of my collection as a whole is embarrassing, but only for a few editions am I actually uncomfortable confessing how much I paid.
But still the Virgin Records issue number 1 was elusive.
I finished the novel Figures in a Landscape by Barry England back in 2021 and was captivated throughout. In the story, two men escape from war-time imprisonment and flee across a spare landscape pursued by their previous captors. The younger of the two is the more innocent Ansell, and the older is the callused fighter MacConnachie. The novel, from 1968, has no specifics about who the antagonists were or where the action occurs.
England’s book was a pure and existentialist response to sentiments the late 60s regarding war and the value we put on life, ours and others, and how proximity affects that value. What he wrote transcends the specificity of the events contained; the detailed and exposed psychology of the duo in flight contrasts the ambiguous landscapes. I think of it, imprecisely, as a more “human” companion to Waiting for Godot. Bleak humanism?
I read the book several times and annotated the events and days (approximately 11) when those events occurred, converting what I felt were key moments into specific movements. They are:
The movements are generally grouped in threes, with #13 and #14 standalone.
(written from 16 May 2022 to 3 Feb 2024)
Slowness has occurred the last few months. Passive voice. I know the cause is that I’ve focused on learning Italian, but a few years ago when I was on a death march at work, every night I still took at least 30 minutes to work on my Symphony No. 1. Those days haunt me for their dedication under stress.
There’s no excuse.
I missed the one year anniversary of beginning work on the piece. I’m not sure how to feel.
